Issue No.3.April-2011

Total Page:16

File Type:pdf, Size:1020Kb

Issue No.3.April-2011 ISSUE NO: 3/April-2011 ISSN: 0976-1608 The International Journal Of Culture, Literature and Criticism Editor Dr. Jyotsna Sinha Faculty of Department of Humanities and Social Sciences, Motilal Nehru National Institute of Technology, Allahabad, India ISSUE NO: 3/April-2011 ISSN: 0976-1608 The International Journal Of Culture, Literature and Criticism Editor Dr. Jyotsna Sinha Faculty of Department of Humanities and Social Sciences, Motilal Nehru National Institute of Technology, Allahabad, India The International Journal of Culture, Literature and Criticism Editorial Board Editor: Eucharia Donnery, Dr. Jyotsna Sinha, Lecturer, Center for the Teaching of Foreign Assistant Professor, Languages in General Education, Department of Sophia University, Humanities and Social Tokyo 102-8554 Sciences, MNNIT, Allahabad. Annual Subscription Rates: India: Rs. 250 (Individualby M.O.) Rs. 500 (Institutions by D.D.) Guest Editor : Overseas: $20 (Individuals) $25 (Institutions) Dr. Niroj Banerji MNNIT, Allahabad. Editorial Correspondence: Dr. Jyotsna Sinha, Dr Bashabi Fraser Assistant Professor, Lecturer in English Department of Humanities and Social and Creative Writing Sciences, School of Arts & Motilal Nehru National Institute of Creative Industries Technology, Edinburgh Napier Allahabad-211004. University Email: [email protected] Edinburgh, Scotland, UK The views expressed by authors are their own and the Editor is not responsible for any controversy arising out of it. The International Journal of Culture, Literature and Criticism is an open forum for discussing various issues relating to culture, literature &criticism .Thought- provoking articles conforming to MLA style sheet are welcome. Unused material can be returned only when accompanied by a self-addressed, stamped envelope. Editor‟s Note The overwhelming response I have received for the present issue has encouraged me to add Book Reviews and Creative Writings for my next issue. I hope the readers will appreciate the new perspective thus given to the Journal which continues to enjoy vast readership in India and abroad. This time again we have a variety of articles ranging from Jewett‘s ‗A White Heron‘, passing through the mystic minstrels of Bengal, to the present views on Kalam, diaspora and Arvind Adiga. My heartfelt gratitude to all my colleagues, well-wishers, advisors and friends without whose support the timely publication of this issue would not have been possible. I thank all my readers and scholars for their incessant effort in contributing the papers thereby investing faith in me. Thank You & Happy Reading Dr Jyotsna Sinha Notes on Contributors 1. Ms Amita Mishra Dubey is a research scholar in the Department of English and Modern European Languages at Allahabad University and completing her Thesis under Prof. Smita Agarwal. 2. Dr Anup Kumar Dey is working as Assistant Professor in the Department of English in Assam University. 3. Dr Archana Parashar is a Lecturer at SGSITS, Indore. Her specialization is in American Literature. She also has passion for Indian Writing in English and Subaltern Studies. Presently she is engaged in teaching Communication Skills to the Engineering Students. 4. Ms Basudhara Roy was awarded the gold medal for securing the highest marks in M.A (English), certificate of Merit and the Ishwari Dutta Memorial Award for securing the highest marks in B.A. (Hons.). She holds a Diploma in French (P.G. Diploma) from the Faculty of Foreign Languages (B.H.U.) with distinction and currently working as Lecturer in the Department of English at Karim City College, Jamshedpur. 5. Dr Chhaya Malviya is presently working as Coordinator in the English Department of Nehru Gram Bharti University, Allahabad. She also holds a degree of Acharya in Sanskrit and a degree of Prabhaker in Music (Vocal). 6. Dr M.Gouri is presently working as a Guest Faculty in the Department of English at Jamhedpur Women‘s College. She is teaching undergraduate and post graduate students. 7. Ms Jaya Singh is a research scholar in the Department of English and Modern European Languages, Allahabad University. 8. Dr Kalikinkar Pattanayak is presently working as Reader in the P.G. Dept. of English, Khallikote College, Berhampur Orissa. 9. Dr. Omana Antony is currently working as Assistant Professor, at Lingaya‘s University Faridabad. 10. Dr Pankaja Acharya is working as Assistant Professor Shri Atal Bihari Vajpayee Govt. Arts & Commerce College Indore. 11. Ms Sanchita Choudhury is a research Scholar in the Department of Humanities and Social Sciences at IIT Kharagpur completing her thesis under Prof. Anjali Gera Roy. 12. Ms Shamenaz is presently teaching as a Sr. Lecturer and Head of Dept of Professional Communication, AIET, Allahabad. She is also pursuing D.Phil in English Literature from the University of Allahabad under the guidance of Prof Sumita Parmar. She has attended many National and International Seminars and holding the Membership of AESI, ELTAI, EACLALS, CWDS (A.U.), CLAI, IASA, USACLALS and AASRN. 13. Ms Shaista Maseeh is a research scholar from the University of Allahabad, pursuing research on Black Feminism, under the supervision of Prof. Sumita Parmar. 14. Ms Suruchi Dubey is working as Lecturer at Krishna Girls Engineering College, Kanpur. 15. Ms Vijeta Gautam is a research scholar in the Department of Humanities and Social Sciences at Motilal Nehru National Institute of Technology, Allahabad. ----- Contents 1. An Analysis of Dr. A.P.J. Abdul Ms. Amita Mishra Kalam‘s works (writings and (Dubey) speeches) as a Work of Literature 2. Identity Crisis and Arthur Miller‘s Dr. Anup Kumar Dey & protagonist in After the Fall : Dr. Dipendu Das A Study in the Light of Erikson and Maslow 3. Jewett‘s World of Nature in Dr. Archana Parashar “A White Heron” 4. Stifled Voices in Diaspora Spaces: Ms. Basudhara Roy The Stereotype and the Housewife, a Study in Cultural Dislocation 5. Female Character as Career Dr. Chhaya Malviya Women in the Novels of Shashi Deshpande 6. Family Values in the Indian Dr. Omana Antony Diaspora : A Study of Meena Alexander‘s ―Manhattan Music‖ 7. Reconstructing Motherhood in the Dr. Gouri Mandapaka fictional works of Anita Desai : A postmodern analysis 8. Marginalization: Various Ms. Jaya Singh Approaches 9. The Fictional Representation of Dr. Kalikinkar Naked Reality: A Reading of Pattanayak Midnight‟s Children and The White Tiger 10. Cultural Consciousness in Dr. Pankaja Acharya Vidiadhar Suraj Prasad Naipaul‘s ―An Area of Darkness‖ 11. Bāuls:The Mystic Minstrels of Ms. Sanchita Bengal- Building a New Tomorrow Chaudhary In the Realm of Music 12. Neither ‗White‘ nor ‗Male‘: Black Ms. Shaista Maseeh Women and Black Feminism 13. Marriage in Troubled Waters: Ms. Shamenaz Shashi Deshpande‘s Roots and Shadows, The Dark Holds No Terror and That Long Silence 14. The Teaching of English in India : Ms. Suruchi Dubey Society and Change 15. From Divided Selves to an Ms. Vijeta Gautam & Integrated Self: Joan in Atwood‘s Dr. Jyotsna Sinha Lady Oracle AN ANALYSIS OF DR. A.P.J. ABDUL KALAM‟S WORKS (WRITINGS AND SPEECHES) AS A WORK OF LITERATURE Amita Mishra (Dubey) ―Literature consists of all the books where moral truth and human passion are touched with a certain largeness, sanity and attention of form‖. (qtd. in Goodman 3) Literature is like a recipe made of common ingredients but served in such an artistic and mouth watering manner that one cannot resist oneself to taste it. It gets its material from common human beings and the daily occurrences of their life, but it is the caliber and art of the writer that makes it worthy to be considered by all who care to read it. If used by a writer of high moral virtues and literary skill literature has the power to mould characters. Literature may be considered a collection of the best of thoughts. While literature consists of strong thoughts, it needs a complimentary form to convey these thoughts to its readers. Kalam is a great thinker and he has his own way of doing this. Although he is basically a scientist and not a man of letters he has the potential to convey his thoughts to his readers and audience. In Wings of Fire he invokes the young generation of India to draw from all the knowledge he possesses and to spread the grace of God everywhere: I am a well in this great land Looking at its millions boys and girls To draw from me The inexhaustible divinity And spread His grace everywhere As does the water drawn from a well. (177) Although born in a less educated family Kalam, found fame as a defence scientist. He has been honoured by India‘s biggest honour ‗Bharat Ratna‘ in 1997 and taken pledge as the twelfth President of India on 25th July 2002. He has given a new life and energy to the research centre of Indian Defence Programme. He is like a candle burning in the dark to show the right path to people, that have been mislead. He faced lot of sorrows in his life but his quest never dwindled. Besides being a great scientist and teacher he is a great writer also. His books are like the ‗Sangam‘ from where a person comes out pure after taking a dip in the holy Ganga: he clears one‘s thought and soul. Kalam has written several books: Wings of Fire, Ignited Minds, India Vision 2020, Indomitable Spirit, Guiding Souls, Inspiring Thoughts, Children Ask Kalam, Mission India, The Life Tree, The Luminous Sparks, Developments in Fluid Mechanics and Space Technology, My Journey, and Envisioning an Empowered Nations. Although he accepts that he is ―only a man of technology‖, in his books as well as in his speeches he has dealt with several issues that reveal his intellect and its thinking process. Kalam is called as a ‗Missile man‘ and a ‗scientist-philosopher‘. He has not only made missiles to take off from the launch pad but has pierced the sky with his speeches and poems like missiles which directly touch their goal that is the heart and mind of the audience and the reader.
Recommended publications
  • Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India”
    Scheme for “Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India” Form for National Inventory Register of Intangible Cultural Heritage of India A. Name of the State WEST BENGAL B. Name of the Element/Cultural Tradition (in English) BENA B.1. Name of the element in the language and script of the community Concerned, if applicable 뇍যানা (Bengali) C. Name of the communities, groups or, if applicable, individuals concerned (Identify clearly either of these concerned with the practice of the said element/cultural tradition) The Bena is traditionally used by two communities - the Rajbongshis and the Meities of Manipur. The Rajbongshis are spread across North Bengal, western Assam, Meghalaya and eastern parts of Bihar and the neighbouring countries of Bangladesh and Nepal. The Meiteis of Manipur have a similar instrument which they call the Pena and it plays a very important role in their culture - accompanying many of their rituals and their folk music. It continues to play a much larger role in their lives than the Bena does among the Rajbongshis. D. Geographical location and range of the element/cultural tradition (Please write about the other states in which the said element/tradition is present ) The Bena is to be found in the northern districts of Cooch Behar and Jalpaiguri (which has recently been bifurcated into Jalpaiguri and Alipurduar districts) in West Bengal, Assam, Meghalaya, Bihar and also neighbouring countries like Bangladesh and Nepal. The Bena is traditionally an integral part of a Rajbongshi folk theatre called Kushan. However the Kushan tradition prevails only in North Bengal, Bangladesh and Assam.
    [Show full text]
  • KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
    Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen
    [Show full text]
  • Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
    British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia.
    [Show full text]
  • Classification of Indian Musical Instruments with the General
    Classification of Indian Musical Instruments With the general background and perspective of the entire field of Indian Instrumental Music as explained in previous chapters, this study will now proceed towards a brief description of Indian Musical Instruments. Musical Instruments of all kinds and categories were invented by the exponents of the different times and places, but for the technical purposes a systematic-classification of these instruments was deemed necessary from the ancient time. The classification prevalent those days was formulated in India at least two thousands years ago. The first reference is in the Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya Vadya’ for musical instruments. The term Atodhya is explained earlier than in Amarkosa and Bharata might have adopted it. References: Some references with respect to classification of Indian Musical Instruments are listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’. Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata, Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas, whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have classified the musical instruments under four heads: 1 Fundamentals of Indian Music, Dr. Swatantra Sharma , p-86 53 i. Tata (String Instruments) ii. Avanaddha (Instruments covered with membrane) iii. Sushira (Wind Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck against one another, such as Cymbals).
    [Show full text]
  • THE GAZETTE of INDIA : EXTRAORDINARY [PART II—SEC. 3(I)] NOTIFICATION New Delhi, the 22Nd September, 2017 No.28/2017-Union
    66 THE GAZETTE OF INDIA : EXTRAORDINARY [P ART II—SEC . 3(i)] 111. उडुकईi 112. चंडे 113. नागारा - केटलेG स कƙ जोड़ी 114. प बाई - दो बेलनाकार Gम कƙ इकाई 115. पैराित पु, हगी - sेम Gम दो िटϝस के साथ खेला 116. संबल 117. िटक डफ या िटक डफ - लाठी के साथ खेला जाने वाला टġड मĞ डेफ 118. तमक 119. ताशा - केटलेGम का Oकार 120. उƞम 121. जलातरंग िच पēा - पीतल के ƚजगल के साथ आग टĪग 122. चĞिगल - धातु िडक 123. इलाथलम 124. गेजर - Qास पोत 125. घटक और मटकाम (िमŝी के बरतन बतϕन Gम) 126. घुंघĐ 127. खारट या िच पला 128. मनजीरा या झंज या ताल 129. अखरोट - िमŝी के बतϕन 130. संकरजांग - िल थोफोन 131. थाली - धातु लेट 132. थाकुकाजामनाई 133. कंचारांग, कांच के एक Oकार 134. कथाततरंग, एक Oकार का जेलोफ़ोन [फा सं.354/117/2017-टीआरयू-भाग II] मोिहत ितवारी, अवर सिचव Ɨट पणी : Oधान अिधसूचना सं. 2/2017- संघ राϤ यϓेJ कर (दर), तारीख 28 जून, 2017, सा.का.िन. 711 (अ) तारीख 28 जून, 2018 ůारा भारत के राजपJ , असाधारण, भाग II, खंड 3, उपखंड (i) ůारा Oकािशत कƙ गई थी । NOTIFICATION New Delhi, the 22nd September, 2017 No.28/2017-Union Territory Tax (Rate) G.S.R.1196 (E).— In exercise of the powers conferred by sub-section (1) of section 8 of the Union Territory Goods and Services Tax Act, 2017 (14 of 2017), the Central Government, being satisfied that it is necessary in the public interest so to do, on the recommendations of the Council, hereby makes the following amendments in the notification of the Government of India in the Ministry of Finance (Department of Revenue), No.2/2017-Union territory Tax (Rate), dated the 28th June, 2017, published in the Gazette of India, Extraordinary, Part II, Section 3, Sub-section (i), vide number G.S.R.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Background Material on GST Acts and Rules
    Background Material on GST Acts and Rules The Institute of Chartered Accountants of India (Set up by an Act of Parliament) New Delhi © The Institute of Chartered Accountants of India All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise without prior permission, in writing, from the publisher. DISCLAIMER: The views expressed in this book are of the author(s). The Institute of Chartered Accountants of India may not necessarily subscribe to the views expressed by the author(s). The information cited in this book has been drawn primarily from the www.cbec.gov.in and other sources. While every effort has been made to keep the information cited in this book error free, the Institute or any office of the same does not take the responsibility for any typographical or clerical error which may have crept in while compiling the information provided in this book. First Edition : May, 2017 Second Edition : September, 2017 Revised Edition : January 2018 Committee/Department : Indirect Taxes Committee E-mail : [email protected] Website : www.icai.org; www.idtc.icai.org Price : e-publication ISBN : 978-81-8441-869-9 Published by : The Publication Department on behalf of the Institute of Chartered Accountants of India, ICAI Bhawan, Post Box No. 7100, Indraprastha Marg, New Delhi - 110 002. Foreword Implementation of Goods and Services Tax (GST) in India is one of the major economic reforms. GST aims to make India a common market with common tax rates and procedures and remove the economic barriers thus, paving the way for an integrated economy at the national level.
    [Show full text]
  • I. Pre-GTS Tax Incidence Vis-À-Vis GST Rate for Goods: S. No. Chapter
    I. Pre-GTS tax incidence vis-à-vis GST rate for goods: S. Chapter Description of goods Pre-GST GST Rate No. Tax Incidence* Food & Beverage 1. 4 Milk powder 6% 5% 2. 4 Curd, Lassi, Butter milk put up in unit 4% 0% container 3. 4 Unbranded Natural Honey 6% 0% 4. 0401 Ultra High Temperature (UHT) Milk 6% 5% 5. 801 Cashew nut 7% 5% 6. 806 Raisin 6% 5% 7. 9 Spices 6% 5% 8. 9 Tea 6% 0% 9. 10 Wheat 2.5% 0% 10. 10 Rice 2.75% 0% 11. 11 Flour 3.5% 0% 12. 15 Soyabean oil 6% 5% 13. 15 Groundnut oil 6% 5% 14. 15 Palm oil 6% 5% 15. 15 Sunflower oil 6% 5% 16. 15 Coconut oil 6% 5% 17. 15 Mustard Oil 6% 5% 18. 15 Sunflower oil 6% 5% 19. 15 Other vegetable edible oils 6% 5% 20. 17 Sugar 6% 5% 21. 1704 Sugar confectionery 21% 18% 22. 21 Sweetmeats 7% 5% 23. 2103 Ketchup & Sauces 12% 12% 24. 2103 30 00 Mustard Sauce 12% 12% 25. 2103 90 90 Toppings, spreads and sauces 12% 12% 26. 22 Mineral water 27% 18% Household goods of daily use 27. 33 Agarbatti 10% 5% 28. 33 Tooth powder 17% 12% 29. 33 Hair oil 27% 18% 30. 33 Toothpaste 27% 18% 31. 34 Soap 27% 18% 32. 4823 Kites 11% 5% 33. 64 Footwear of RSP upto Rs. 500 per pair 10% 5% 34. 64 Other footwear 21% 18% 35. 73 LPG Stove 21% 18% 36. 76 Aluminium foils 19% 18% 37.
    [Show full text]
  • April Magazine Final
    THE PLUS ISSU E #17 APR 202 1 www.igenplus.com Introduction Hello, young readers! We are thrilled to welcome you on another learning expedition with the ‘Music’ edition of ‘The Plus’. This month, we are looking at the cultural evolution of music and its significance as a human experience. From enabling creative expression to strengthening social bonds, music is tied to education and learning in intricate and expansive ways. In this issue, you will get familiar with the concepts of musical vibrations, the melodic framework of the Indian raga and sargam. You will find captivating stories of traditional instruments, the maestros who took Indian music global, and the emotions Hellen Keller felt after “hearing” music for the first time. You will also catch an inside look into some innovative musical enterprises and gain insights into building a career in music. We will be back with another issue next month. Meanwhile, we would love to hear from you. Your suggestions, ideas, and feedback - all are welcome. This magazine is an effort by IGenPlus to reach you, so be rest assured that we are here for you! Letter from the CEO p 3 Concept Note p 4 The Beauty of Ragas & Swaras p 5 The Evolution of Music p 7 In Conversation With p 9 From the Reader’s Pen p 12 Melodies of the Mind-Body-Soul p 13 In Tune with the Divine p 14 Saar: Ancient Wisdom p 16 Traditional Indian Instruments p 17 Games Corner p 19 Musical Trail p 21 Ghatam: Plugging into the Cadence Inside Us p 25 Taking Indian Music Global p 27 The Role of Music in Adolescence p 29 Inside a Musical Enterprise p 31 Career Insights p 33 This Day, That Year p 35 Teenspiration p 36 SAI SHRAVANAM Indian music producer, recording and scoring engineer GHATAM GIRIDHAR UDUPA Letters of the Past p 37 Indian percussionist DIVIJ Thank Us Later! Teen music artist p 39 On a more scientific level, if you feed any sound into an oscilloscope – a sound measuring instrument – depending upon its frequency and amplitude, a form is created.
    [Show full text]
  • Detailed Agenda Notes 3
    Confidential Agenda for 20th GST Council Meeting Volume-3 5 August 2017 New Delhi Page 2 of 11 TABLE OF CONTENTS Agenda Agenda Item Page No. No. Recommendations of the Fitment Committee (Goods) 5 4 i. Indigenous Handmade Musical Instruments Any other agenda item with the permission of the Chairperson ix. Special provisions in GST in case of supplies to/from Nepal and 7 7 Bhutan x. Modification in FORM REG -13 to remove mandatory requirement 8 of PAN for Embassies / Consulates and other UN Organizations Page 3 of 11 Discussion on Agenda Items Agenda Item 5: Recommendations of the Fitment Committee (Goods) (i) Indigenous Handmade Musical Instruments 1. During the meetings of the Fitment Committee held on 25 July 2017, 31 July 2017 and 1 August 2017 various references on rates were examined and compiled which constitutes the Detailed Agenda Notes for Agenda Item 5 (Fitment Recommendations-Goods) for the 20th GST Council Meeting. In respect of S. No. 74 of Annexure II of the said Detailed Agenda Notes relating to Indigenous handmade musical instruments (HS Code 92) which attracts Nil rate of GST, in order to remove ambiguity, there is a need define “Indigenous handmade musical instruments”. In this context, the Fitment Committee observed the following - i. West Bengal may provide a list of Indigenous handmade musical instruments ii. The entry in notification can be modified to say Indigenous handmade musical instruments including these instruments. 2. Accordingly, the Commissioner (Commercial Taxes), West Bengal, vide email dated 3 August 2017, forwarded a list of musical instruments for specific inclusion in the exemption list.
    [Show full text]
  • LIST of GOODS for CHANGE in GST RATE RECOMMENDED by GST COUNCIL in ITS 21St MEETING HELD on 9TH SEPTEMBER, 2017
    LIST OF GOODS FOR CHANGE IN GST RATE RECOMMENDED BY GST COUNCIL IN ITS 21st MEETING HELD ON 9TH SEPTEMBER, 2017 1. The GST Council has recommended changes in the GST rates on the following goods: S. HSN Description Present Recommended No. GST Rate GST rate 1. 0802 Walnuts, whether or not shelled 12% 5% 2. 0813 Tamarind dried 12% 5% 3. 2106 Roasted Gram 12% 5% 4. 2106 Custard powder 28% 18% 5. 2106 Batters, including idli / dosa batter 18% 12% 6. 2304, 2305, Oil cakes Nil for 5% 2306 cattle feed [irrespective of 5% for end use] other uses 7. 2306 Cotton seed oil cake Nil for Nil cattle feed [irrespective of 5% for end use] other uses 8. 3307 41 00 Dhoop batti, dhoop, sambhrani and 12% 5% other similar items 9. 3926 Medical grade sterile disposable 28% 18% gloves of plastics 10. 3926 Plastic raincoats 28% 18% 11. 4016 Rubber bands 28% 12% 12. 4016 Rice rubber rolls for paddy de-husking 28% 18% machine 13. 4907 Duty Credit Scrips 12% 5% 14. 50 to 55 Khadi fabric, sold through Khadi and 5% Nil Village Industrries Commission’s outlets 15. 5801 Corduroy fabrics 12% 5% [with no refund of ITC] 16. 5808 Saree fall 12% 5% 17. 6501 Textile caps 18% 12% 18. 6912 Idols made of clay 28% Nil 19. 44, 68, 83 Idols of wood, stone [including 28% 12% marble] and metals [other than those made of precious metals] 20. 7102 Rough industrial diamonds including 3% 0.25% unsorted rough diamonds -1- LIST OF GOODS FOR CHANGE IN GST RATE RECOMMENDED BY GST COUNCIL IN ITS 21st MEETING HELD ON 9TH SEPTEMBER, 2017 S.
    [Show full text]
  • Bauls: a Different Philosophy of Life
    Kar, 1 Rina Kar (Dutta) Asutosh College Bauls: A Different Philosophy of Life Abstract Bauls are a group of wandering mystic minstrels of Bengal. This unique community has a rich cultural heritage which developed over a long period of time. Their way of life has been formed through the direct and indirect interactions of ritualistic and cultural folk beliefs and ideas. The etymological meaning of the term ‘Baul’ is mad. It has been derived from the word ‘Vatul’ or ‘Vyakula’. The meaning of the word ‘Vatul’ is mad whereas ‘Vyakula’ means impatiently eagered. Bauls are wandering musicians who are known for their unconventional life-style and a different approach to religion. The true beauties of the Baul lie in their free spirited nature. They do not believe in rules and regulations pertaining to the orthodox religion. Their way of achieving ‘moksha’ is different from any other orthodox views; they take a fresh look towards seeking the Supreme Power. In Baul’s philosophy the human body is given the highest value. According to them the human body is the microcosm of the universe. They considered the human body as a temple where the Lord resides. Human body is composed of Pancha-bhuta (air, water, sky, earth and fire) and dwelling place of God. So in Baul’s sadhana the human body deserved the ultimate reality where one can unite with the Supreme Being through their human body. Quest: Multidisciplinary Journal of Humanities and Social Sciences, Volume 2 Issue 2: Article No. 6 Kar, 2 Bauls are a group of wandering mystic minstrels of Bengal.
    [Show full text]